sustains the portrayal through language of the lovers, and their relationship, reaching beyond mortality. Certainly, this use of hyperbole in the language of love is one that is evident from the very start of the play, as Philo says of Antony " this dotage of our generals o'erflows the measure" and continues when Cleopatra says to her lover "I'll set a bourn how far to be belov'd,"he replies "Then must thou needs find out new heaven, new earth." The reader can constantly see imagery in the text of the love being limitless, almost too much, and this can certainly be seen to contribute to the eventual downfall of them both. At this point it must also be noted that this amorous, image laden language is archetypal of the world of love in 'Antony and Cleopatra'. For Antony, Alexandria is a place where he can exert his imagination and dreams- where he becomes tempted by the 'soft life' and his passion for Cleopatra. This type of language is a neccesity in portraying this, the hyperbole and other imagery all contributing to Antony's 'dreamworld.' Antony realises this to an extent, as can be seen from his exclamations such as "These strong Egyptian fetters I must break, or lose myself in dotage."
             The versatility of love in the play can be seen in the myriad of situations in which the lovers are placed, and the facets of their emotions that we see- egotism, envy, anger, jealousy, loyalty, trust, infatuation, passion, sexuality, and, most of all, companionship. In Act III, scene eleven, Antony reproaches Cleopatra, but when she begs his pardon he forgives her, showing loyalty and trust. When he thinks she has been flirting with Caesar's messenger, he flies into a rage "You were half blasted ere I knew you: ha? Fo
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